Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Marshall Islands and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1970.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Whodini to the crunk kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Iggy Pop. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Ronan record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Yusef Lateef,
Bootsy Collins,
Crash Course in Science,
Morten Harket,
The Count Five,
Tommy Roe,
Television Personalities,
The Detroit Cobras,
Brass Construction,
Sun Ra Arkestra,
The Jesus and Mary Chain,
The Buckinghams,
Barbara Tucker,
Marmalade,
Saccharine Trust,
Todd Rundgren,
The Trojans,
Ronnie Foster,
The Red Krayola,
Quadrant,
Amon Düül II,
Rotary Connection,
Orchestral Manoeuvres in the Dark,
Man Eating Sloth,
The Searchers,
Kayak,
Magma,
Darondo,
Colin Newman,
Soft Machine,
Joe Smooth,
Bang On A Can,
Amon Düül,
The Pretty Things,
Skarface,
The Kinks,
John Cale,
The Dirtbombs,
The Grass Roots,
Avey Tare's Slasher Flicks,
Piero Umiliani,
Stereo Dub,
Althea and Donna,
Circle Jerks,
Yaz,
Todd Terry,
Juan Atkins,
Kenny Larkin,
The West Coast Pop Art Experimental Band,
Röyhkä ja Rättö ja Lehtisalo,
June of 44,
Quantec,
Fatback Band,
Country Joe & The Fish,
Pharoah Sanders,
Lyres,
The Motions,
Aswad,
Larry & the Blue Notes,
Bush Tetras,
Marcia Griffiths,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.